July 12, 2013

This is part of an ongoing series of interviews with the people behind In-World War. Filmmaking is a team sport; it takes a village to make a movie.

Oliver McQuillan played the role of Mary, while in Dublin.

How would you describe In-World War (the film itself) in no more than
seven words?Ambitious, quirky, multi-faceted science fiction.

Why did you get involved with it? How did you hear about it? What
interested you in this film in particular?I was originally invited to play in Brant’s [DJ Bad Vegan's] intriguing Gameplay. Then there was silence, broken by the news that this project had evolved into In-World War. Once again, I was invited to play the part in the Dublin sequence of a man called Mary.

Did you enjoy working on the film? What was the best part for you?Yes, I did. The best part? Getting around transport by-laws to film on
public transport! There was also a pleasant pub scene with a charming and attractive lady.

How long have you been working in film/involved with film?I returned to acting about ten years ago after a career in business,
mainly because of my interest in writing. I did a course in writing for screen,
and followed up with a series of courses in acting for the camera with the
Irish Film Actors Studio (John Cantwell). This quickly led to roles in both
short and feature films, as well as television work. I also studied the Stanislavski
method with Ireland’s leading acting teacher, Tim McDonnell, who is the Studio Director
with Dublin’s Focus Theatre. Theatre roles followed.

What is your goal in filmmaking generally (director, writer, director of
photography, key grip, etc.) and why?See above. My main interest is in writing primarily for the stage,
although I have written two full-length screenplays and a 15-minute short
which I hope to see produced. I have also written and performed in my own stage
works.

In your view, why is filmmaking and making art important to society as a
whole?There was a happy period of my life when I went to the cinema 3 to 4 times a
week. Those years left me a cultural richness that I still treasure. It is an
astonishing art form.

Did helping make an indie film leave you with a positive or negative
outlook on this type of ultra-low budget filmmaking (and why)?It left me filled with admiration at the levels of creativity, inventiveness, courage, and persistence of those involved. There is
also a residual regret in the experience of working on some excellent
low-budget films to learn that there is such difficulty in getting screenings
for the work.

How do you feel about the genre of science fiction? Is sci-fi just
for fun or can we tell serious stories that are culturally relevant? (Okay,
that’s a loaded question....but still, what do you think?)I have always loved science fiction. As a schoolboy I devoured J.
Jefferson Farjeon's Death of a World, and as an adult, Asimov. Relevant
stories? My God, is Kubrick's 2001: A Space Odyssey relevant? For the fan of
science fiction, it is fascinating to see how the mysteries of quantum physics
("where everything that can happen does happen") make the most extreme plots of
sci-fi seem everyday.

The film takes an unusual sci-fi approach to issues around the so-called
“war on terror” (specifically racial profiling and Islamophobia) and the
consequences of massive personal debt -- how have these issues impacted your
life and your work?I haven’t had a chance to see how the film deals with racial profiling,
or the "war on terror." As to the question of "massive personal debt," we in
Ireland know only too well how individuals who never incurred debt personally
are now personally saddled with massive debt due to the greed and dishonesty of
bankers and the incompetence or corruption of politicians.

Before you started with IWW, what did you expect it to be like working on
the film?A little more conventional. That it wasn't was what was interesting. But
...

How was it actually, compared to that? What was exactly as you expected
it? What was very different?... my participation only gave me a limited view of the total. Looking
forward to the finished film.

DIY filmmaking can be rough. What was the worst moment? If you have one,
share a painful memory from making the film, to give a taste of how tough it
got.Being screamed at over a loud-speaker system at eight on a Sunday morning
at a deserted suburban railway station, when the crew produced photographic
equipment without having got permission to film.

What did your experience of working on IWW tell you about humanity and
people in general?Where there's teamwork and mutual respect, the job will be a pleasure to
do. But I suppose we knew that anyway.

What have you been doing since you worked on the film? What other
film projects have you done?See Blood by October Eleven Pictures and
also from October Eleven: A Christmas Carol

Why should people get involved with, donate money and/or help out on IWW?So that impoverished actors like me can see the finished movie.

What else would you like to say about your experience on IWW? Any
funny anecdotes or behind the scenes stories? Met old friends and some new ones.

To learn more about Oliver’s work or just to say hi:Email omcquillan [at] mcq.ie

May 01, 2013

This is part of an ongoing series of interviews with the people behind In-World War. Filmmaking is a team sport; it takes a village to make a movie.

Donavan Sell is the Cinematographer for the film.

How would you describe
In-World War (the film itself) in no more than seven words? Indie sci-fi to its core.

Why did you get involved
with it? How did you hear about it?I jumped on board after
meeting Brant Smith [aka DJ Bad Vegan].
After seeing his passion and drive, I knew this was a film that was
going to not only get made, but also finished and shown to people throughout
the indie film world.

Did you enjoy working on
the film? What was the best part for you?It was fun. My everyday
work is in corporate and commercial production, so it was nice to break loose
and get creative. Having an impossible
schedule every day and then making it through was the fun part for me. It was a challenge every day, but it’s what
drove me; it left me feeling like we really accomplished something everyday.

What interested you about
this film in particular?Really it was Brant that I
was interested in working with. The
story was like nothing I have worked on before, and I wanted to get more long-form
work on my reel, so it was a great chance to kill two birds with one stone.

How long have you been
working in film/involved with film?I have been
working in film and video since 1996. I began by working at a television
studio; while I enjoyed the work, I found that I was not impressed by the
quality of video at the time and wanted to create better images. This began my foray into film and shooting on
16mm and 35mm. I was never a "film
guy" in the sense that I had no hero directors in mind – or
cinematographers, for that matter. I was just really focused on obtaining the
best image possible, and film was that medium at the time. Naturally I
began shooting short films and music videos, and then worked my way into features.
After a few features in Korea, I came back to the States; with Silicon Valley
in my backyard, corporate video became my main stay in terms of easy days, good
pay, and good recognition. After a few
years in the corporate video world, I found myself getting bored with the
content again, so I sought out a project that I can shoot locally that would
also be a fun break from the humdrum world that is corporate video. And
then I found Brant and In-World War.

What is your goal in
filmmaking generally (director, writer, director of photography, key grip,
etc.) and why?Cinematography is my
passion. I say I don’t have stories to
tell, but I enjoy helping others tell theirs.

In your view, why is
filmmaking and making art important to society as a whole?First off, it’s important
for me to have a job – otherwise I think I would be an engineer or a bicycle
shop owner. As for society, I think
it’s good for people to express themselves and make something that inspires others
to get up and do something. It keeps us
driving to make better work and up the ante for generations to come.

Did helping make an indie
film leave you with a positive or negative outlook on this type of ultra-low
budget filmmaking (and why)?It was an eye-opening
experience for me, to say the least. I
am used to constraints and schedules in this business – and I like it in a way
– but this project kicked it all out the door.
It was crazy at times, but it was also fun to just break convention and
do what had to be done to make the shoot.

How do you feel about the
genre of science fiction? Is sci-fi just for fun or can we tell serious
stories that are culturally relevant? (Okay, that’s a loaded question....but
still, what do you think?)Honestly I am not that
familiar with sci-fi, and this film was a glimpse into a world that I was very
unfamiliar with (there was a lot of terminology that I had to question). But I
applaud the creativity it leads itself to – how you have the liberty to get
creative with props and to make and realize things that don't exist in the real
world. If you say a piece of plastic is a supercomputer and people
interact with it as it is, the audience will believe it is.

The
film takes an usual sci-fi approach to issues around the so-called “war on
terror” (specifically racial profiling and Islamophobia) and the consequences
of massive personal debt -- how have these issues impacted your life and your
work?Rather than assuming a Fight Club attitude
and wishing to destroy the credit card companies, I think the issue of
debt was brought up in In-World War
in a relatable way. The issue of people around the world getting deeper and
deeper in debt was relevant at the time, and still is. When the film was written and made, the whole
Greece debt crisis was unheard of, and the prospect of sharia law taking over
the United States was not even thought of. But a lot has changed and the world keeps
turning. I think it’s good to bring
these issues to the forefront, as they are as relevant now as they were then –
and the more people know, the more people can learn from their mistakes.

Before you started with IWW, what did you expect it to be like
working on the film?I expected it to be very
calm and structured. I tend to thrive on efficiency and I pride myself in being
able to run a set that is efficient and makes our scheduled day. In this sense, IWW pushed me to the limit and beyond. The initial schedule I was given was insane
compared to normal production standards – but instead of fighting as I did
initially, Brant said it was going to be done, and thus I saw it as a challenge
to stay on top of this totally crazy schedule.
I think we came pretty close to doing so. There were a few long days in there, but for
the most part we stayed on schedule.

How was it actually,
compared to that? What was exactly as you expected it? What was very different?It was chaos! Just kidding.
It was a pretty smooth-running machine, and we really did our best as a
team to get our pages every day. There
were longer days than others, but I think we had a very good core team and had
a good rhythm going.

What did your experience
of working on IWW tell you about humanity and people in general?It taught me that people involved
with filmmaking are some of the hardest working people I know, and that I would
not want to be in any other profession.

What have you been doing
since you worked on the film? What other film projects have you done?I have been consumed by
the commercial world. I joined the
international cinematographer’s union and am still looking for more long-form production
work.

Why should people get
involved with, donate money and/or help out on IWW?I think people who don’t
work in the business don’t really understand what it takes to get that image on
the screen. A two-hour feature it can
easily be two to three months of work for a whole team of talented people. And without support, these people can’t
continue to do the work they do.

What else would you like
to say about your experience on IWW? Any funny anecdotes or behind the
scenes stories? It was a great group we had,
and I would gladly work that team again.

April 02, 2013

This is part of an ongoing series of interviews with the people behind In-World War. Filmmaking is a team sport; it takes a village to make a movie.

Davis Banta is a production assistant.

What was your role on IWW and for those people not familiar with filmmaking, can you describe the job? I was a general PA, doing various jobs from transferring footage onto a hard drive, to hitting play on a dvd that was supposed to play in the background of one scene, to whatever task needed an extra pair of hands that day.

How would you describe In-World War (the film itself) in no more than seven words? Ambitious.

Why did you get involved with it? How did you hear about it? What interested you in this film in particular? I had taken a class taught by Brant [IWW director DJ Bad Vegan] on DIY filmmaking, and shortly after that ended he started production on IWW.

Did you enjoy working on the film? What was the best part for you? IWW was a very interesting experience. Every one worked really hard at the jobs they had, and although there were times when getting the shot we needed was really stressful, the whole cast/crew did anything they could to make it run smoothly.

How long have you been working in film/involved with film? At this point, I’ve been working freelance for about 3-4 years, and have gotten a pretty decent kit together.

What is your goal in filmmaking generally (director, writer, director of photography, key grip, etc.) and why? My overall goal would be directing, because I appreciate how all the aspects of production contribute to the finished project. Also, I have a background in acting, and appreciate process of working on the set with the performers in a scene.

In your view, why is filmmaking and making art important to society as a whole? Art, and film in particular, can create a certain distortion of the world around us that offers us a unique opportunity to access other viewpoints and perspectives.

Did helping make an indie film leave you with a positive or negative outlook on this type of ultra-low budget filmmaking (and why)? I left with a positive view of the people involved that are driven by a passion to do a good job at this kind of work.

How do you feel about the genre of science fiction? Is sci-fi just for fun or can we tell serious stories that are culturally relevant? (Okay, that’s a loaded question....but still, what do you think?) At its best, Sci-fi can approach subject matter and topics that are difficult for us to honestly have a dialogue about through the lens of story. For me, its important in this kind of genre to make sure the story is always being served and not get distracted or overwhelmed by too many other elements of flash or special effects that take away from the ideas.

The film takes an usual sci-fi approach to issues around the so-called “war on terror” (specifically racial profiling and Islamophobia) and the consequences of massive personal debt -- how have these issues impacted your life and your work? The most direct affect these issues have had on me is in my own psychology, and my perception of the country as a whole. The mind-set of the war on terror has left a national imprint of fear and distrust that we’re going to be dealing with for a long time, even if specific policies were reversed.

Before you started with IWW, what did you expect it to be like working on the film? I really had no idea. From taking Brant’s class I knew that the schedule and purses would be tight, and we’d need to be efficient.

How was it actually, compared to that? What was exactly as you expected it? What was very different? I think what surprised me the most was the way the locations we shot at, locally around San Francisco and Oakland, lent an atmosphere of realism that I hadn’t pictured just from reading the script. I’m very interested to the see how the project is shaping up.

DIY filmmaking can be rough. What was the worst moment? If you have one, share a painful memory from making the film, to give a taste of how tough it got. It wasn’t too bad for me, just a couple of late nights, but I remember there was a lot of stress around shooting a specific driving scene -- the actor had to concentrate on driving in Oakland and his on-screen performance, and they had to fit the camera and other gear in the car. I think the sound recordist wound up crammed in the back seat kind of curled up so she and the microphone weren’t in the shot.

What did your experience of working on IWW tell you about humanity and people in general? Working together we can accomplish a lot, and the importance of planning ahead.

What have you been doing since you worked on the film? What other film projects have you done? I’ve been producing online web video content for various clients, including Shakespeare Santa Cruz. Last year I got a grant to write, produce, and perform a sketch comedy show that featured live performance and video sketches.

Why should people get involved with, donate money and/or help out on IWW? Brant’s a great guy with an interesting vision, and supporting this project will also go along way to help him keep getting more people involved in the DIY film-making process. Also I want to see the finished film.

March 01, 2013

This is part of an ongoing series of interviews with the people behind In-World War. Filmmaking is a team sport; it takes a village to make a movie.

Lauren Stava is a production assistant.

What was your role on IWW and for those people not familiar with filmmaking, can you describe the job?I interned on IWW as a production assistant, with duties ranging anywhere from driving talent around, going on runs (i.e. picking up lunch, copying scripts, obtaining supplies etc.), ingesting footage from rehearsals, at times assisting on slate, as well as just doing whatever I could at any given time to help out.

How would you describe In-World War (the film itself) in no more than seven words?A smart sci-fi dealing with current issues.

Why did you get involved with it? How did you hear about it? What interested you in this film in particular?I heard of the internship positions to work on IWW through my school, the University of California at Santa Cruz, and knew it was something I wanted to be a part of, not only to have something to put on my resume, but also because I am a huge sci-fi fan and I knew this would be a great opportunity for to work but also have some fun.

Did you enjoy working on the film? What was the best part for you?I enjoyed working on the film because not only did I get to meet some amazing people (some I am even still great friends with today), it also introduced me to the real world of film, and not just what I thought it would be like because of school. I learned about so many different things while working on IWW, from new terminology to how to operate particular pieces of equipment, but really it was the work ethic that I took from it all - you absolutely have to be a hard worker to be a part of this industry, but you should also be having a good time while doing so.

How long have you been working in film/involved with film?I started editing in high school and knew then that I wanted to major in film in college, so I did. I graduated from UCSC in June of 2010 and have been working at Bunim/Murray Productions since October 2010, currently now as an Assistant Editor for "Bad Girls Club." Although it is reality television and not film, I would eventually like to make the transition into film when the time is right.

What is your goal in filmmaking generally (director, writer, director of photography, key grip, etc.) and why?When I was younger I loved to act and really wanted to be an actress, but I ended up going behind the camera more during high school, which ultimately led to me editing some projects. After that, I knew right away that I wanted to go into Post Production and become an Editor. I am currently working in the Online department though (as opposed to Offline) and since that has happened, I would now ultimately like to be both a Colorist and an Editor.

In your view, why is filmmaking and making art important to society as a whole?It's important because not only does filmmaking entertain, but it also informs, and you could give the same exact script to a group of people and the end results would all be different because of each of their artistic visions, and that's awesome.

Did helping make an indie film leave you with a positive or negative outlook on this type of ultra-low budget filmmaking (and why)?It left me with both, honestly, because while I learned and benefited so much from this experience, it also showed me that unfortunately if you don't have the money, it is very very difficult to do what you want and have it done when you want.

How do you feel about the genre of science fiction? Is sci-fi just for fun or can we tell serious stories that are culturally relevant? (Okay, that’s a loaded question....but still, what do you think?)I have always loved science fiction, and I believe that you can have a "fun" sci-fi that also discusses serious topics (culturally relevant or not), it just depends on how it's executed. I've seen many sci-fi films that were silly, which I loved, and others that tried to be too smart and they failed, so it really doesn't matter what the aim of the film is as long as it's done right. Or at least that's my opinion.

The film takes an usual sci-fi approach to issues around the so-called “war on terror” (specifically racial profiling and Islamophobia) and the consequences of massive personal debt -- how have these issues impacted your life and your work?Both unfortunately and fortunately I can say that none of these issues have impacted my life or work, or at least not in a major way that I can think of.

Before you started with IWW, what did you expect it to be like working on the film?I knew going into it that it was going to be a lot of work, but I really didn't expect all of the great friendships that came out of it. When everyone is stressed and going through the same problems, it really brings you all together.

How was it actually, compared to that? What was exactly as you expected it? What was very different?It was pretty much how I thought it would be: lots of hard work, no sleep, and lots of driving and coffee.

DIY filmmaking can be rough. What was the worst moment? If you have one, share a painful memory from making the film, to give a taste of how tough it got.I honestly can't really remember a truly terrible moment working on the film, other than maybe the one time soup (that was intended for lunch) was spilled all over my car.

What did your experience of working on IWW tell you about humanity and people in general?I already had known that people are very judgmental no matter what the issue may be, but after working on IWW it really opened my eyes to even deeper issues and how one person's opinion and judgment can change a lot of things, for both better and worse.

What have you been doing since you worked on the film? What other film projects have you done? I graduated from UCSC and have ever since been working in Los Angeles at Bunim/Murray Productions. From "The Real World," to "Project Runway," to now the "Bad Girls Club," I have stayed in Post Production and am now the Online Assistant Editor for the "Bad Girls Club," slowly trying to learn color to hopefully one day be both a Colorist and an Editor.

Why should people get involved with, donate money and/or help out on IWW?Not only is IWW a great story and will no doubt look great on screen once it's complete, but the people working on it are all such caring and hard working individuals, and really with a project this large, anything helps.

What else would you like to say about your experience on IWW? Any funny anecdotes or behind the scenes stories? Although working on the film itself was a great experience, one of my favorite memories was after we wrapped when [Line Producer] Bryan took a bunch of us to a baseball game, but were having so much fun tailgating that we never made it into the game...

February 01, 2013

This is part of an ongoing series of interviews with the people behind In-World War. Filmmaking is a team sport; it takes a village to make a movie.

Akilah Aisha Reynolds is a production assistant and location assistant.

What was your role on IWW and for those people not familiar with filmmaking, can you describe the job? I was a Location Assistant and Production Assistant during the filming in the Bay Area. As a location assistant I sought out and secured locations for filming. My duties as production assistant included being present to assist the cast and crew during filming, posting flyers and contacting acting schools to recruit talent, helping to run auditions and sign in actors, participating in a table read, sending out fundraising letters, and contacting restaurants to secure craft services for filmmaking.

How would you describe In-World War (the film itself) in no more than seven words? Fun. Interesting. Informative. Enlightening. Ahead-of-its-time.

Why did you get involved with it? How did you hear about it? What interested you in this film in particular? I was a part of Giant Filmmaking Club at UC Berkeley where I was a junior studying Psychology, when I heard about this opportunity. I was really excited about being involved in an independent film in the Bay Area. I reached out to Brant [IWW Director, DJ Bad Vegan] and was welcomed to join the team.

Did you enjoy working on the film? What was the best part for you? I loved working on the film! It was my first experience and taught me a lot about the intricacies of filmmaking. The best part of it was meeting new people and being able to see so many different people with different talents, skills, and responsibilities come together to work on a project.

How long have you been working in film/involved with film? In-World War was my first experience working in film.

What is your goal in filmmaking generally (director, writer, director of photography, key grip, etc.) and why? My goal in filmmaking is to write and produce, and also dabble in front of the camera. I love having ideas and being able to write them and then take part in making the vision happen (behind the scene and in front of the camera).

In your view, why is filmmaking and making art important to society as a whole?
It’s visual story telling and provides a way to communicate and connect with so many people at one time! It reaches people’s heart and soul, which is an avenue to the mind and ultimately effecting change. Filmmaking and art are powerful!

Did helping make an indie film leave you with a positive or negative outlook on this type of ultra-low budget filmmaking (and why)? It gave me a positive outlook on low-budget filmmaking in that it showed me the power of an idea and a commitment to seeing that idea into fruition despite financial constraints. It definitely showed me the difficulties of filmmaking, when you have a low budget, but more importantly it showed me that despite these difficulties it is possible.

How do you feel about the genre of science fiction? Is sci-fi just for fun or can we tell serious stories that are culturally relevant? (Okay, that’s a loaded question....but still, what do you think?) Yes, I think that we can tell serious stories that are culturally relevant as done in this film! Sci-fi offers a creative, interesting, and fun way to contextualize and present issues that have social importance.

The film takes an usual sci-fi approach to issues around the so-called “war on terror” (specifically racial profiling and Islamophobia) and the consequences of massive personal debt -- how have these issues impacted your life and your work? I know first hand the debt crises in this country. I am currently in graduate school and at every phase of my higher education I have had to take out student loans in order to pay for school. When I finally graduate there is a possibility that my debt will be higher than the salary of my first job! It’s sort of a catch 22, pursue your passions which, later in life will provide you will economic security by going to school. But having to take out loans to pay for it. Or don’t get loans to pay for school but be unable to pursue your passion and make the type of money you would like. So many students are in a similar situation.

Before you started with IWW, what did you expect it to be like working on the film?
How was it actually, compared to that? What was exactly as you expected it? What was very different? I was nervous to start. I wasn’t really sure what to expect but from some of the horror stories you hear about working in film I anticipated the possibility of working with “difficult” people. However, my experience working on the film was very positive. Everyone was friendly, encouraging, and we all were committed to make a good film. Yes, it was hard work, hours were long, there was a lot to be done in a short amount of time with limited resources, but it showed me that with team work, passion, commitment, and faith, you can make a good film, with good people, despite limited resources.

DIY filmmaking can be rough. What was the worst moment? If you have one, share a painful memory from making the film, to give a taste of how tough it got. The only thing I can think of would be the long hours. We would often have early call times, and have to switch two, maybe even three shooting locations in a day. I think the worst for me would be shooting outside on a cold day. But, it wasn’t too bad, always work and good people converse with to keep you busy. And once you got in the bed, you’d sleep like a baby.

What did your experience of working on IWW tell you about humanity and people in general?
From the storyline to the actual experience working on the film, IWW taught me that the things people have in common is passion, the ability to love, and endure hardships.

What have you been doing since you worked on the film? What other film projects have you done? Since then, I moved to New York and then Houston where I now attend a Ph.D program in Counseling Psychology. Creatively, I have written and directed a short film, Broken Bombshell, was a production assistant on Days With Zahrah, a lifestyle television show in San Francisco, participated in Miss Texas USA pageant, and co-founded U Blush Magazine, a lifestyle brand that caters to the multifaceted modern, professional, woman.

Why should people get involved with, donate money and/or help out on IWW? This is an amazing story from an amazing director and a host of other people who have put their time, effort, and heart into making the “impossible” possible. Be a part of putting this story on screen!

What else would you like to say about your experience on IWW? Any funny anecdotes or behind the scenes stories? Loved it! Really showed me the art of being a go-getter!

January 02, 2013

This is part of an ongoing series of interviews with the people behind In-World War. Filmmaking is a team sport; it takes a village to make a movie.

Brian McHale-Boyle played the role of Brendan in the film. He also served as Unit Producer for the Dublin filming unit.

How would you describe In-World War (the film itself) in no more than seven words?Dystopian futuristic sci-fi with a current social commentary.

Why did you get involved with it? How did you hear about it? What interested you in this film in particular?I originally played a version of Brendan in Brant’s [director DJ Bad Vegan's] Gameplay, a forerunner to IWW. It was a surprise to receive the IWW script a few years later, and find out how much the concepts and characters had been expanded. It was a fun script with obvious political undertones, but it never lost the sci-fi elements at its heart.

Did you enjoy working on the film? What was the best part for you?It was a great experience working on the film, albeit flying by the seats of our pants at times. The best part was probably the wrap party, where we could finally take a breath and say we got through it.

How long have you been working in film/involved with film?I’ve been working in film for 7 years.

What is your goal in filmmaking generally (director, writer, director of photography, key grip, etc.) and why?My goal is to make a living by making projects that genuinely interest me, be that as an actor or as a producer.

In your view, why is filmmaking and making art important to society as a whole?I believe film captures times, characters, social mores, and events more vividly than any other media. It stands as a testament to the drive and determination to capture a vision for current and future audiences, and expose them to stories from different countries and cultures.

Did helping make an indie film leave you with a positive or negative outlook on this type of ultra-low budget filmmaking (and why)?It left me with a positive outlook insofar as I know now that it is possible to make a film in this way, but a negative outlook in regard to the time required to complete it.

How do you feel about the genre of science fiction? Is sci-fi just for fun or can we tell serious stories that are culturally relevant? (Okay, that’s a loaded question....but still, what do you think?)It’s in the eye of the beholder, I guess. The great thing about sci-fi is that is accessible on so many levels, rewarding the science-geek and the thrill-seeker alike.

The film takes an unusual sci-fi approach to issues around the so-called “war on terror” (specifically racial profiling and Islamophobia) and the consequences of massive personal debt -- how have these issues impacted your life and your work?Being honest, I don’t see to much of an impact to the “War on Terror” in my daily life - although I guess overbearing airport security and travel restrictions are an extension of it that will disrupt my travel from time to time. As an actor, I am lucky/unlucky(!) enough not to be in a position to amass large debts. I do, however, have friends that are in financial trouble now as a result of fueling what is without doubt a debt-based economy.

Before you started with IWW, what did you expect it to be like working on the film?I expected it to be challenging but rewarding. I hoped that I would pick up some tips for producing a feature film myself in the future.

How was it actually, compared to that? What was exactly as you expected it? What was very different?It was pretty much exactly as expected. There were no hitches that couldn’t be overcome or improvised around. And I got quite a few tips from Brant too!

DIY filmmaking can be rough. What was the worst moment? If you have one, share a painful memory from making the film, to give a taste of how tough it got.Shooting a scene at Filmbase, Dublin. An adjacent coffee machine in the cafe was the loudest that I have ever heard and kept revving throughout the day. Also, we were unaware that a band was recording some songs that day in the lobby! I was dreading that we might not get any usable audio.

What did your experience of working on IWW tell you about humanity and people in general?If people believe in a script or a filmmaker’s vision, they will go to great lengths and often make sacrifices to find a way to contribute their time and talents to see it reach an audience.

What have you been doing since you worked on the film? What other film projects have you done?Since the shoot of IWW, I have acted in many theatre productions and independent film projects. I am also currently producing a series of art documentaries, the second of which, Thou Art Dublin, is in production now.

Why should people get involved with, donate money and/or help out on IWW?Post-production is the time when every cent counts towards getting the film finished and out to an audience. Donate and you will be part of that journey and that experience.

What else would you like to say about your experience on IWW? Any funny anecdotes or behind the scenes stories? Overall it was a good experience. Funny anecdote? Shooting a scene at Filmbase, Dublin! Brant was bellowing “Quiet on set!” at baristas, customers, staff and musicians throughout the building before each take! He got his quiet and hopefully his audio too.

To learn more about Brian's work or just to say hi:Shoot me an email at briarz@gmail.com.

December 03, 2012

This is part of an ongoing series of interviews with the people behind In-World War. Filmmaking is a team sport; it takes a village to make a movie.

Lisa Carlson plays the role of Trainer Terry.

How would you describe In-World War (the film itself) in no more than seven words? Sci-fi for a planet off its axis.

What was your role on IWW and what did you do?I play Trainer Terry. It's a short scene early in the film. She introduces a desperate group of people gathered in a classroom to what may be their only opportunity to survive by becoming workers in the In-World War virtual world.

Why did you get involved with it? How did you hear about it? I was captivated by the premise of the script - that there could actually be global warfare forever. I read it during a time that brought radically new changes to American foreign policy, three years ago. This script is incredibly prescient on so many levels. Heard about it on Craigslist.

Did you enjoy working on the film? What was the best part for you? I totally loved working on this, figuring out my wardrobe, and participating in a slice of futurism.

What interested you about this film in particular? The political framework fused with the sci-fi context really captivated me. For example, the story posits that to keep one’s credit in check some people would do almost anything. And, that was written before the recent credit crises and foreclosure debacles!

How long have you been working in film/involved with film? At age 16, after shooting an award-winning 16-mm documentary, Cleo, I wanted to be a filmmaker. Instead, I become an audio-visual producer for business, went into creative services sales, then morphed into a tech writer/editor, and did not realize a whole new career awaited me as an actress until a couple of years ago – a lifetime later.

What is your goal in filmmaking generally (director, writer, directorof photography, key grip, etc.) and why?Acting has scooped me up. I hope to be cast in more captivating roles in film and theater. Meanwhile, I am also developing new skills as a live storyteller.

In your view, why is filmmaking and making art important to society as a whole? Without art our souls wither and die. No matter what else we are involved in, the arts are our lifeline to our deepest humanity.

Did helping make an indie film leave you with a positive or negative outlook on this type of ultra-low budget filmmaking (and why)? I loved the work, the scope of the film, and the commitment of the talented crew and director towards this visionary creative goal. I find it difficult, though, to wait out the process and the funding. It’s frustrating, as a new actress, to have to wait several years to see how I looked on one particular day of shooting. I am skeptical of most audition invitations by directors with skeletal budgets and support. But, if I read the script and like it as much as I loved In-World War, I am likely to want to participate.

How do you feel about the genre of science fiction? Is sci-fi just for fun or can we tell serious stories that are culturally relevant? (Okay, that’s a loaded question....but still, what do you think?) I love sci-fi when it’s well written and embodies greater truths and consequences through the narrative.

Before you started with IWW, what did you expect it to be like working on the film?I had no idea what to expect, at first. But, the call for actors on Craigslist was actually pretty honest. There would be a lot of actors involved, a lot of extras, and we would not be paid very much. We would provide our own wardrobes, and we could spend a lot of hours on set. All true.

What did your experience of working on IWW tell you about humanity andpeople in general?People are kind. Many people are unexpectedly gracious under pressure. The greater humanity in all of us embraces artistic visionaries. Our director Brant Smith [aka DJ Bad Vegan] embraces gratitude, and it shows.

What have you been doing since you worked on the film? What other film projects have you done?I have worked on dozens of projects. I have done several TV commercials, including one for Blue Shield of CA, where I played myself as a caregiver, and a recent one in Spanish, for Discount Diabetic, where I play a housewife who loves pie, and a lot of training videos. I played the Head Nun in a production in Danville, CA, of John Guare’s The House of Blue Leaves, and an aging Valley girl in The Little Nebbish, in a black box theater in Long Beach.

Why should people get involved with, donate money and/or help out on IWW?Involvement, financially or artistically, in the film gives you an opportunity to get in on the ground floor of a captivating project by a totally original director who has talent, vision, and probably a couple of more astounding scripts in his back pocket.

What else would you like to say about your experience on IWW? Any funny anecdotes or behind the scenes stories?I ran out to Dress Barn to buy an inexpensive gray business suit for my character, Trainer Terry. Little did I know that more than two years later I’d actually be wearing it again, to business meetings, in a real marketing communications day job, in a continuing effort to hang on to my good credit rating. Oh, how art imitates life, how life imitates art…

November 01, 2012

This is part of an ongoing series of interviews with the people behind In-World War. Filmmaking is a team sport; it takes a village to make a movie.

Benjamin Morgan is our Executive Producer.

How would you describe In-World War (the film itself) in no more than seven words?An incredibly engaging DIY sci-fi human drama.

What was your role on IWW and what did you do?
I am an executive producer. Brant [IWW Director DJ Bad Vegan] and I have been pushing each other to get off our asses and create things for over a decade. So much of what I do is provide feedback, guidance, and support (often in the form of lashings -- "tough love" as they call it on Craigslist). This started in the story stage, through script. A producer needs to be critical, yet supportive. It's a tough balance to maintain, but Brant has a pretty thick skin, so I know I can be real with him.

Brant and I have been meeting weekly for years. Sometimes it's a 5-minute check-in. Sometimes an hour. And there are times when we simply can't meet. But we try to keep it as consistent as possible. The purpose of the meeting is to review progress on goals, and provide feedback on current work. We obviously stay in contact about other issues as they arise. But the weekly call is to hold each other accountable, and force each other to stay on task. I have always pushed Brant to keep creating, even if it's just 5 minutes of writing every day. It's imperative to keep marching forward. Momentum is everything. We live almost a thousand miles apart now. But we keep pushing each other, by any means necessary.

One thing we focus on is setting realistic deadlines and insure that those deadlines are met, no matter what. Deadlines make the world go 'round. When you're in the trenches, it's easy to get lost in the pursuit of perfection. Sometimes, a producer has to be an idea killer, which is a tough thing to do. Yes, you want to inspire and nurture creativity -- you're supporting a vision. But you also have to keep the big picture in mind. Without momentum, you will never finish anything. And if you don't finish, you're just wanking. Without climax.

So, to answer your question, my primary role has been to support Brant's vision and try and keep him focused on the end game: finishing the damn movie.

So far so good. Making a film of this scope with no money is a phenomenal undertaking. I'm proud of Brant for sticking with it and am confident that, unlike the majority of people who start the journey of making an indie feature, we are going to have a finished film to watch at the end of this journey.

Why did you get involved with it? How did you hear about it?The writer/director Brant Smith [DJ Bad Vegan] and I have collaborated on several projects, including my last feature, Quality of Life, which Brant produced. Brant was my creative partner on the project, from development to distribution. I was really excited to hear that he was directing his first feature and was honored to be involved.

Did you enjoy working on the film? What was the best part for you?It has been inspirational to see Brant and the team fight through obstacle after obstacle to keep this project moving forward. It's not easy to make a feature film. It's damn near impossible to make one with no money. But the IWW team has been relentless. I can't wait to see it on the big...or any...screen.

What interested you about this film in particular?The script. Story is King. And Brant took the time and effort to write a kickass script. It's such a unique, compelling story. Like so many 99-percenters will, I connected to Mary's financial struggle. And the themes of anonymity and cultural indifference and intolerance were incredibly powerful. But ultimately it's a human drama. And Brant did a great job of crafting this compelling human story.

How long have you been working in film/involved with film?I was involved as a kid (small bit parts as a child actor), and writing/directing for over ten years.

What is your goal in filmmaking generally (director, writer, director of photography, key grip, etc.) and why?I'm primarily a writer/director, although I love producing as well. I'm driven to tell compelling human stories that reach wide audiences with sensible budgets. I'm drawn to underground subcultures, stories that delve into human potential. I tend to pull from personal experience more than imagination. And I like to challenge audiences to think and draw conclusions for themselves, and leave the theater talking.

In your view, why is filmmaking and making art important to society as a whole?Filmmaking is the most powerful, accessible story-telling medium of the 21st century. Thanks to the tools available, filmmakers -- and creators in general --from so many walks of life have the potential to reach so many people. It's a responsibility we shouldn't take lightly.

Did helping make an indie film leave you with a positive or negative outlook on this type of ultra-low budget filmmaking (and why)?There are two sides to this coin. On the one hand, the democraticization of the filmmaking process has been a wonderful thing. Anyone can make a film! On the other hand, anyone can make a film.

We're seeing a lot of incredible work that would otherwise never see the light of day. But we're also seeing a lot of crap. It's similar to the graffiti world. We see a ton of bullshit scrawled all across the urban landscape. But we also see some mind-blowing, inspirational, cutting-edge work that would not exist within the traditionally curated landscape. It's all good in the end. Yes, the marketplace is flooded. But more people are creating.

From a personal creative standpoint, I'm drawn to smaller crews and budgets. Larger scale projects of any kind tend to be more cumbersome. I like the freedom and mobility of low-budget filmmaking. But, again, there is a flip-side. Groveling for money sucks. And, although you become intimately connected to a project over time, working on a film for 5-10 years limits your creative output. Like any art form, the creative process (and product) is subjective. To each his own...

How do you feel about the genre of science fiction? Is sci-fi just for fun or can we tell serious stories that are culturally relevant? (Okay, that’s a loaded question....but still, what do you think?)Sci-fi is such a powerful genre. Sometimes we forget that some of the most compelling films fall into this category -- 2001, Fight Club, Inception. The thing I love about In-World War is that it challenges you to think differently about the genre. There have been some amazing DIY sci-fi films in the past few years -- Primer, Bellflower, etc. You don't need a huge Hollywood budget to make a smart sci-fi picture. Studio Lo Mismo is totally fueling this movement.

The film takes an usual sci-fi approach to issues of racial profiling, Islamophobia and the so-called “war on terror” -- how have these issues impacted your life and your work?
I'm very fortunate to be a white male. As Louis CK says, if we had a choice, I'd re-up for white male every time. I never get profiled, or searched at the airport. I could wear a KKK hood and sing "Death to America" in line and get waived right through security. With that said, it's impossible to be awake and not be affected by this crazy, misguided, ineffective "war". It makes me embarrassed to be an American. (Didn't we learn anything from the Japanese internment camps?!) That's one of the things that attracted me to the script. It's a topic that hasn't been deeply explored in narrative cinema.

Much like the War on Drugs, or the War on Poverty, or the War on Graffiti, it's futile to go around chasing symptoms. We need to deal with the root of the problem. Why do kids feel compelled to write their names on other people's property? What's missing from their lives? Let's address that, instead of running around painting over graffiti and locking kids up for nonviolent crimes. Same with the War on Terror. Is it any mystery why poor people anywhere hate Americans? Especially poor people in countries where we steal their resources and kill civilians under a facade of "liberation"...OK, I digress. The point is, this issue affects everyone. Even sheltered crackers like myself.

Before you started with IWW, what did you expect it to be like working on the film?Very mid-range.

How was it actually, compared to that? What was exactly as you expected it? What was very different?I was really impressed by the overwhelming support this project has received from the film community, the SF Bay Area, and the world! It has been incredible to see people step up and help out all over the globe -- actors, crew, gear, etc. People have really been moved by this story.

DIY filmmaking can be rough. What was the worst moment? If you have one, share a painful memory from making the film, to give a taste of how tough it got.
This is a tough question since in the role of Executive Producer, I was far removed from the front lines of production for the first time in my life. But there have been numerous moments where I wasn't sure if the project was going to survive. Which is to be expected with the resource challenges we faced on this project.

I'm not sure I can point to a specific example. But honestly, the future has been tenuous for much of the ride.

With a small "underfunded" (aka broke) project like this, you're running on fumes from start to finish. You get energy boosts from periodic moments of success, like a great day of shooting, kick ass design submissions, etc. But a project like this runs on one commodity: The passion of the vision-holder. We've had a ton of amazing support along the way. But Brant has been shoveling coal non-stop for years. And will continue to do so until we see it on the big (and/or small) screen.

What did your experience of working on IWW tell you about humanity and people in general?There are so many gifted, talented people out there looking for creative outlets. Give them an opportunity to work with a good script and they will come out of the woodwork.

What have you been doing since you worked on the film? What other film projects have you done?
I have been developing a feature that we're hoping to shoot in the next year or so. It's a quirky comedy about a bike messenger who has to find a way to support his girlfriend and their newborn baby after he breaks his leg in a wreck. So he starts a business selling her breast milk to gourmet foodies. It's called Mother's Milk. Really hoping to shoot it in SF, if the stars align.

I’ve also been writing some shorts and comedy bits with my 13 year-old son. My family is my number one priority, so I tend to run a pretty slow pace when it comes to making movies (which is a stifling challenge for a hyperactive spaz like myself). But features are draining. They take years out of your life. Shorts (especially ones I can create with my family) are obviously much less intensive, in terms of personal sacrifice. So that’s where I’m at right now. I’m focused on writing and directing comedies now. The first several films I made were very dark and serious. I was the class clown growing up, but adulthood brought on a wave of depression and pessimism. It feels great to laugh again. And make people laugh. I have a short that my son and I wrote together coming out at the end of this year that is going to revolutionize how humans function. Stay tuned…

Why should people get involved with, donate money and/or help out on IWW?There are many reasons to support this film, all of them worthy: Support the arts. Support Bay Area narrative filmmaking. Support DIY sci-fi. But, at the end of the day, this is an important story, one that must be heard by as wide of an audience as possible. The themes of fear, racial profiling, and financial disparity are so relevant in these times.

The time for this film is NOW. But it won't be seen by anyone without your help. Step up!

What else would you like to say about your experience on IWW? Any funny anecdotes or behind the scenes stories? This one time at band camp...

Brant is a true visionary. We need your help to get the film out there. But, the truth is, Brant will always find a way. It will take a helluva lot longer without the village. But...In-World War will hit screens near you, come hell or high water.

October 01, 2012

This is part of an ongoing series of interviews with the people behind In-World War. Filmmaking is a team sport; it takes a village to make a movie.

Brook Sitgraves Turner is the Script Supervisor and a Production Assistant for the film.

How would you describe In-World War (the film itself) in no more than seven words?The Interdimensional Exploration of Freedom and Security in America. Wait… that’s nine words, can we just say that any word with less than 3 letters doesn’t count?

Why did you get involved with it? How did you hear about it? What interested you about this film in particular?I was a film major at Berkeley. Unfortunately, this didn’t provide a lot of hands-on experience. As a student athlete at Cal, I didn’t really have time to work on outside productions during the school year. I did my best to secure internships during my downtime over each summer. To be honest, I knew that I appreciated film and filmmakers, but I didn’t know much about the process. When Brant [IWW director DJ Bad Vegan] reached out to UC Berkeley students, I saw it as an amazing opportunity to see if I really enjoyed making films, or if I just wanted to watch them in an auditorium.

Did you enjoy working on the film? What was the best part for you?Working on IWW was an amazing experience. It was a lot of hard work, but I learned so much. I learned that sleep doesn’t come easily during production. Aside from learning from and working with such a great cast and crew, I made lasting friendships. I’m still in touch with some crewmembers. I’ve even worked with Jeff Ponchick (he was amazing, by the way). It’s been a comfort to see familiar faces down in the Los Angeles area. And, I know that there are several people with whom I hope to work again! They’ll be the first people I contact when I get a project going.

How long have you been working in film/involved with film?I was acting and modeling in high school. My on-camera days were certainly numbered, but I was a host on Browns Blitz, a regional show for NBC. I’ve been really immersed in film for the past four years, but my love for film began when I first saw Lady and the Tramp.

What is your goal in filmmaking generally (director, writer, director of photography, key grip, etc.) and why? Producer! I’ve been writing a lot more, but not entirely sure that my path will head that way. I genuinely like telling stories. And, as a producer, you start from the ground up.

In your view, why is filmmaking and making art important to society as a whole?Whoa! Big Question. The best way I can answer this is to tell you why I got involved in media. Media plays a huge role in each of our self formations. Whether we admit this or not, what we see informs us and how we perceive ourselves and others; it helps shape our view of the world. I really want to make sure that media is playing a positive role in people’s self development. I want to make sure that everyone has access to a diverse array of stories told by a diverse array of storytellers.

Did helping make an indie film leave you with a positive or negative outlook on this type of ultra-low budget filmmaking (and why)? Upside, I got to see the nuts and bolts of filmmaking. At one point or another, I carried a C-Stand, picked up craft services, or sat in for an actor. All in all, it was a tremendous learning experience, at the end of which, I felt as though I’d gained a ‘family.’ With that said, a girl could get used to having a big budget.

How do you feel about the genre of science fiction? Is sci-fi just for fun or can we tell serious stories that are culturally relevant? (Okay, that’s a loaded question....but still, what do you think?) I definitely think that sci-fi is done best when it speaks to the zeitgeist. It doesn’t have to be heavy handed, but it should definitely have cultural relevance. That can be fun too, right?

The film takes an unusual sci-fi approach to issues of racial profiling, Islamophobia and the so-called “war on terror” -- how have these issues impacted your life and your work? Personally, these issues don’t impact me on a day-to-day basis. Of course, I believe that they are extremely important and ugly facets of our culture that we must explore and do our best to change, even if it is a bit uncomfortable.

Before you started with IWW, what did you expect it to be like working on the film?I had no idea! That’s the big reason why I wanted to be a part of the process.

How was it actually, compared to that? What was exactly as you expected it? What was very different?Since I wasn't sure what to expect, my main concern was that it be a valuable learning experience. Working on In-World War definitely gave me a peek inside independent filmmaking.

DIY filmmaking can be rough. What was the worst moment? If you have one, share a painful memory from making the film, to give a taste of how tough it got.I had to go around asking restaurants and grocery stores if they’d be willing to donate to the project. At the time, I felt slightly uncomfortable doing this. I mean, it wasn’t as if we were starving and homeless. We were just working on a film. This taught me a couple of important things. 1) You must have clear understanding of WHY you are doing something; 2) At least for me, there must be some overarching positive outcome for whatever I’m involved in; and 3) You have to BELIEVE in what you are doing.

Looking back, I knew that we had to have food on set. I knew that I was a tiny piece in people working towards their dreams as artists, and I believed in the passion of each and every person involved. I think that got me through the rough patches.

What did your experience of working on IWW tell you about humanity and people in general?People are grumpy when they’re tired or hungry! Unfortunately, sometimes, people can be greedy. But most of the time, people are really working towards being happy. And generally speaking, they’d like you to be happy as well. It’s a very dangerous and scary thing to throw away convention and work towards a dream. Many of the people on set could have gotten a traditional 9 to 5 job and not worried about their bills being paid. But, I must say that being around that many people filled with creative energy is quite inspirational.

What have you been doing since you worked on the film? What other film projects have you done?I immediately enrolled in the Peter Stark Producing Program at USC. I got involved in some cool projects there. Thankfully, a short I produced, Spice, will be screening at the River Run Film Festival in April. I’m currently working on my own blog, some independent projects, and producing a doc. Basically, there are just a lot of irons in the fire. Nothing too crazy yet.

Why should people get involved with, donate money and/or help out on IWW?Brant has been working tirelessly on this project. I think that you should help if IWW is a film with a story you can get behind. Donate if you’re passionate about the story; donate if you’re interested in seeing someone’s dream come to fruition.

August 01, 2012

This is part of an ongoing series of interviews with the people behind In-World War. Filmmaking is a team sport; it takes a village to make a movie.

Orlando Mendoza plays the role of Dallas.

How would you describe In-World War (the film itself) in no more than seven words? A great experience in DIY filmmaking.

What was your role on IWW and what did you do? Dallas, a bounty hunter type of fellow. My partner and I are looking for the lead character.

Why did you get involved with it? How did you hear about it? What interested you about this film in particular? I read the script and liked what I read. I believe it was either through SF casting or Craigslist that I heard about it.I especially liked how the lead character would change from person to person throughout the film.

Did you enjoy working on the film? What was the best part for you? Yes, I did. The best part was being on the set and learning from the crew and actors. The experience I gained.

DIY filmmaking can be rough. What was the worst moment? If you have one, share a painful memory from making the film, to give a taste of how tough it got. The worst, like every film is the waiting. I was even sent home after 8 hours of waiting for the scene I was in because it got too late to shoot. But at least I ate throughout the wait.

How long have you been working in film/involved with film? Film and movies since 2007. Acting since 1997.

What is your goal in filmmaking generally (director, writer, director of photography, key grip, etc.) and why? All of the above. I like the art of filmmaking, from in front of the camera to the back of the camera. My main goal now is to produce and direct. And of course, act.

In your view, why is filmmaking and making art important to society as a whole? Its important because, it not only helps personal growth, discovery and experience. But, it also helps society's growth, discovery and experience.

Did helping make an indie film leave you with a positive or negative outlook on this type of ultra-low budget filmmaking (and why)? It was a positive outlook. Nothing in life is easy and also in filmmaking.

How do you feel about the genre of science fiction? Is sci-fi just for fun or can we tell serious stories that are culturally relevant? (Okay, that’s a loaded question....but still, what do you think?) I like science fiction. Both.

Before you started with IWW, what did you expect it to be like working on the film? Like all projects I involve myself in, I expected it to be fun and professional.

How was it actually, compared to that? What was exactly as you expected it? What was very different? IWW, was both, fun and professional. It was more than I expected. I learned much more than I thought it would be.

What did your experience of working on IWW tell you about humanity and people in general? That we need to work on ourselves first, before we try to work on others.

What have you been doing since you worked on the film? What other film projects have you done? I have continued to act in films and I have also produced, shot and edited two of my own short films. And will continue to continue.

Why should people get involved with, donate money and/or help out on IWW? So it gives indie films such as IWW and opportunity to be seen worldwide.

What else would you like to say about your experience on IWW? Any funny anecdotes or behind the scenes stories? It was a blast never to be forgotten. It was fun shooting a scene in a moving car with people in the trunk, with the camera all over the back seat, with the back seat taken out. Good times in filmmaking. Can’t wait to see the finished product.

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About the film

In-World War, a smart and offbeat indie sci-fi feature, tells the futuristic story of a debt-ridden and depressed beta tester trapped in a buggy virtual reality simulation of the "war on terror".

This site chronicles the making of the film, which is written and directed by DJ Bad Vegan, who (under a completely different name -- perhaps his own) also produced the award-winning narrative feature Quality of Life.

He also provides low-budget DIY filmmaking tips, tricks and indie distribution insights at his site DIYsucks.com and is the Galactic Overlord of the new indie sci-fi website Homemade Sci-Fi.